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The walk between the Park and Other stages is 10 minutes at a clip, anywhere up to 40 at a leisurely Glastonbury amble. Grime fans were granted a quarter of an hour between the end of Kano's set, located at the former, and the beginning of Boy Better Know's, at the latter, on Sunday night.

The fact that this quandary had even arisen could be seen as remarkable: a year ago Skepta, the most prolific member of grime collective BBK, played for a mere 35 minutes on the Pyramid Stage on Saturday afternoon. Since then, both he and Kano earned Mercury Music Prize nominations for their albums, and Skepta took home the gong, the first grime artist to do so since Dizzee Rascal in 2003.

Rascal headlined West Holts on Friday night and called for greater representation of rap, grime and urban music at British festivals.

This year, Glastonbury went a good way towards achieving that, with Craig David, New York rappers Run The Jewels, Brit Award-nominee Stormzy, and rising stars Ray BLK and Nadia Rose all wooing crowds of thousands over the weekend.

So it was fitting for Boy Better Know, grime's foremost collective, to go up against Ed Sheeran, who has also made the prodigious rise from the festival's smallest stage to its largest in six years, on Sunday night. The fact that such a small crowd turned up to see them, however, was a disappointment.

BBK is comprised of six main members (with dozens of others making up their crew): JME, Skepta, Jammer, Frisch, Shorty and Maximum, who took to the stage in various formations to perform on a stage sparsely dressed but for a set of decks (manned by Maximum) and the occasional pyrotechnic.

They have always strived to do things differently, and, as Adele - a female soloist with minimalist production and an affable patter - reinvented the concept of how a top-bill set could be done last year, the grime collective presented a kind of Sunday closer the Other Stage hasn't seen before.

Boy Better Know's pace was relentless, rattling through landmark hits such as Shutdown within 25 minutes of opening, and with relatively few rewinds or calls to the "energy crew" to hype up an audience who had been partying for five days straight.

There was a pit of people vigorously dancing at the crowd's heart, but the sparse beats and rapid-fire verses initially struggled to engage with those who had chosen Boy Better Know as their last major performance of the weekend.

Wiley track Can't Go Wrong, fully loaded with resounding beats, brought with it the kind of fevered energy the set had been lacking, and It Ain't Safe, from Skepta's Konnichiwa, delivered the best singalong that could fairly be expected from thousands who had shouted themselves hoarse.

Too Many Men, the BBK hit that made a brief appearance on this very stage yesterday evening thanks to Wiley, earned a muscular response, as did final song, Feed Them to the Lions, which saw dozens rush to the front of the crowd in a maelstrom of heavy bass.

But, overall, this was a set that was slow to ignite. It's a shame - a rapturous performance from Boy Better Know would have been a perfect ending to a Glastonbury fuelled on the fresh vigour of the first-time voters, many of whom were urged to the ballot box by JME and others participating in the #grime4corbyn campaign (the oft-heard Jeremy Corbyn chant rang out at the show's climax).

But they have already paved a way by taking this slot: here's hoping the Pyramid beckons.